u 


aWm 

I  Ill'll  L. 


|gM* 

CHICAGO.  CATALOGUE  . j* 

OF  A  LOAN  EXHIBITION 


; !(!{ II  i 


HIROSHIGE. 


I  II  j 1 

ii  iii 


ifePRii  lilt: 


Ili  I  [HI 

i1 


# 


THE  ART  INSTITUTE  OF  CHICAGO 


CATALOGUE 

OF  A  LOAN  EXHIBITION  OF 

COLOUR  PRINTS 

BY 

ICHIRYUSAI  HIROSHIGE 

1797-1858 


WITH  AN  INTRODUCTION 
AND  NOTES 
BY  * 

FREDERICK  WILLIAM  GOOKIN 


APRIL  1912 


The  prints  included  in  this  exhibi¬ 
tion  are  loaned  by  Messrs.  Charles  H. 
Chandler,  J.  Clarence  Webster,  Fred¬ 
erick  W.  Gookin,  and  Clarence  Buck¬ 
ingham,  and  by  the  heirs  of  the  late 
John  H.  Wrenn. 

With  only  a  few  exceptions  the 
prints  shown  are  of  the  finest  possible 
quality,  strictly  Ichi  Ban  as  the 
Japanese  would  say.  The  few  that  do 
not  quite  come  up  to  this  standard 
have  been  included  because  of  the 
notable  character  of  the  design. 


nii.  t 


Li 


INTRODUCTION 


Ando  Tokitaro,  known  to  the  world  by  his  artist  name 
Ichiryusai  Hiroshige,  was  born  in  the  year  1797.  When  he  was 
in  his  fifteenth  year  he  became  a  pupil  of  Utagawa  Toyohiro, 
having  previously  applied  to  Toyokuni  without  success,  as 
that  artist,  then  at  the  height  of  his  popularity,  had  no  room 
in  his  studio  to  accommodate  another  pupil.  At  that  time 
Toyohiro  was  giving  his  attention  very  largely  to  landscape 
subjects,  and  in  all  probability  it  was  his  interest  in  them  that 
influenced  Hiroshige  to  select  for  his  own  special  province  this 
wide  field  hitherto,  comparatively  speaking,  untilled  by  the 
Ukiyoe  artists. 

For  many  centuries  the  Japanese  artists  of  the  classical 
schools  had  been  painting  landscapes,  for  the  most  part  in  the 
style  of  the  old  Chinese  masters,  though  with  various  modifica¬ 
tions.  The  task  Hiroshige  set  himself  was  to  design  color 
prints  that  would  portray  the  beauties  of  the  familiar  scenes 
of  every  day  life.  Instead  of  classical  idealizations  he  would 
present  subjects  well  known  to  the  mass  of  the  people,  such 
as  famous  places  in  the  two  capitals,  Yedo  and  Kyoto,  the 
Post  Stations  on  the  Tokaido,  as  the  highway  between  them 
was  called,  the  sights  of  Osaka,  then  known  as  Naniwa,  and 
the  celebrated  eight  views  of  Lake  Biwa.  Though  each  print 
should  be  an  accurate  picture  of  the  place  represented,  it  should 
also  be  a  distinctive  design.  As  other  Ukiyoe  artists  had 
played  with  figures  of  men  and  women  so  he  would  play  with 
hills  and  fields  and  buildings  and  trees  and  lakes  and  rivers, 
with  vistas  over  land  and  sea,  with  the  ever-changing  effects 
of  cloud  and  sunshine,  with  fog  and  rain  and  snow,  with  morn¬ 
ing  mists  and  evening  shades  and  the  tender  charm  of  moon¬ 
light. 


5 


Further  invading  the  territory  of  the  classical  schools  he 
would  make  prints  of  birds  and  flowers,  not  confining  himself 
to  the  few  species  the  artists  of  these  schools  looked  upon  as 
fit  subjects  for  representation,  but  going  out  into  the  fields 
and  tramping  over  the  hills  and  through  the  groves  and  mak¬ 
ing  drawings  of  what  he  should  see  there.  In  each  drawing 
the  structure,  characteristic  growth,  and  beauty  of  the  plants 
depicted  should  be  faithfully  rendered,  the  action  of  the  birds 
should  be  as  realistic  as  possible,  but  every  line,  every  form, 
every  hue  should  blend  into  a  harmonious  rhythmic  whole, 
structurally  strong  and  fairly  quivering  with  life. 

How  early  in  his  career  Hiroshige  decided  to  devote  him¬ 
self  to  this  range  of  subjects  we  do  not  know.  The  prints  of 
the  very  rare  “Honcho  Meisho”  series  were  perhaps  his  earli¬ 
est  published  works.  The  infrequency  with  which  prints  of 
this  series  are  seen  may  be  taken  as  an  indication  that  the 
edition  was  not  a  large  one.  The  “Toto  Meisho”  series  of 
Yedo  views  published  by  Kawaguchi  Shozo  marked  a  decided 
improvement  in  design.  The  ten  prints  forming  it  are  all  of 
great  beauty.  In  the  absence  of  definite  knowledge  it  is  not 
possible  to  speak  with  certainty,  but  it  would  seem  not  un¬ 
likely  that  the  popular  approval  of  this  series  led  to  a  com¬ 
mission  being  given  to  Hiroshige  by  the  publisher  Takeuchi 
to  design  a  series  of  views  of  the  Tokaido,  the  post-road  be¬ 
tween  Yedo  and  Kyoto.  As  a  preparation  for  this  Hiroshige 
made  a  journey  to  Kyoto  stopping  everywhere  to  make  draw¬ 
ings  and  bringing  back  with  him  many  books  filled  with 
sketches  of  the  scenery  along  the  route.  The  date  of  this 
journey  was  possibly  as  early  as  1825,  though  perhaps  it  was 
not  undertaken  until  several  years  later.  And  it  may  be  that 
the  stimulus  to  popular  interest  in  landscape  prints  given  by 
the  publication  of  Hokusai’s  famous  “Thirty-Six  Views  of 
Fuji”  which  began  to  appear  about  this  time,  influenced 
Takeuchi  in  commissioning  Hiroshige  to  design  the  Tokaido 
set. 

Instant  success  attended  the  placing  of  the  first  prints  of 
this  series  on  sale  at  Hoyeido,  as  Takeuchi’s  shop  was  called. 


6 


From  his  master  Toyohiro,  Hiroshige  had  adopted  the  name 
Ichiyusai  (Profoundly  Deep)  and  with  this  appellation  his 
earlier  prints  are  signed.  Confident  that  his  fame  was  secure 
he  now  changed  this  to  Ichiryusai  (One  Standing  Alone). 
The  consciousness  of  power  which  this  somewhat  boastful 
phrase  implies  was  amply  justified.  That  the  fifty-five  prints 
of  the  Tokaido  series  are  impressed  with  the  hallmark  of 
genius  no  competent  observer  would  question  for  a  moment. 
Throughout  Japan  these  prints  found  wide  appreciation.  Even 
the  connoisseurs  who  looked  with  contempt  upon  the  vul¬ 
garities  of  the  Ukiyoe  school  and  held  that  no  print  could 
have  sufficient  vitality  to  entitle  it  to  be  considered  a  work  of 
art,  could  not  withhold  their  admiration.  Edition  succeeded 
edition  until  the  blocks  were  entirely  worn  out.  The  first 
edition  was  printed  with  the  greatest  care,  and  great  pains 
were  taken  with  the  colour  and  the  quality  of  the  impression. 
Changes  made  in  the  designs  from  time  to  time  bear  witness 
to  the  artist’s  efforts  to  make  his  work  as  perfect  as  possible 
in  every  detail.  As  some  of  the  blocks  wore  out,  or  were,  per¬ 
haps,  accidentally  destroyed,  they  were  replaced  by  new  ones. 
How  many  copies  were  printed  we  cannot  even  guess,  but  it 
must  have  been  somewhere  in  the  tens  of  thousands.  At  first 
the  prints  were  issued  separately  as  the  blocks  were  designed 
and  engraved.  When  all  were  finished  sets  were  made  up  and 
sold  together  in  albums.  Very  few,  if  any,  of  the  choicest  im¬ 
pressions  were  included  in  these  sets. 

The  Tokaido  series  was  speedily  followed  by  the  several 
Toto  Meisho,  Yedo  Meisho,  Kyoto  Meisho,  Naniwa  Meisho, 
Kisokaido,  Yedo  Kinko  Hakkei,  Omi  Hakkei,  and  Kanazawa 
Hakkei  series,  and  by  a  long  list  of  others.  Kwa  Cho,  or 
Bird  and  Flower  prints,  were  also  designed  in  considerable 
numbers.  The  Yedo  publishers  vied  with  each  other  to  secure 
designs  by  this  great  artist  and  popular  favorite.  Hiroshige’s 
energy  seems  never  to  have  flagged  as  long  as  he  continued 
to  live.  When  we  consider  the  very  large  number  of  designs 
that  he  turned  out  it  is  difficult  to  see  how  he  could  have  found 
time  to  make  the  journeys  which  he  must  have  taken  to  pro¬ 
cure  the  material  for  them. 


7 


During  his  early  and  middle  period  Hiroshige  made  most 
of  his  landscape  compositions  in  horizontal  format.  Toward 
the  end  of  his  life  he  changed  to  a  vertical  format.  The  prints 
done  in  his  last  decade  are  vivid  in  color  in  accordance  with 
the  prevailing  taste  of  the  time,  and  are  seldom  seen  in  their 
best  state.  The  finest  impressions,  however,  are  superb,  and 
basing  our  judgment  upon  them,  and  not  upon  the  ordinary 
copies,  we  reach  the  conclusion  that  in  spite  of  the  introduc¬ 
tion  of  the  red  cartouches  bearing  the  titles  and  signature, 
which  at  first  sight  are  very  disturbing,  these  later  works  are 
among  the  greatest  achievements  of  the  master.  Even  the 
red  cartouches,  we  discover,  have  been  introduced  for  the 
purpose  of  balancing  the  composition. 

It  is  impossible  to  form  a  correct  estimate  of  Hiroshige's 
power  or  of  the  artistic  value  of  his  work  from  ordinary 
copies  of  his  prints.  The  later  editions  were  so  changed  in 
color  and  so  carelessly  printed  as  to  have  little  relation  to 
the  artist’s  design.  That  they  could  not  be  utterly  spoiled  by 
this  treatment  shows  how  masterly  is  their  composition  in 
line  and  mass.  The  examination  of  choice  copies  shows  clearly 
that  every  one  of  all  the  many  designs  is  delightful  when  pre¬ 
sented  as  Hiroshige  conceived  it.  The  finest  printing,  how¬ 
ever,  was  both  difficult  and  expensive,  and  when  the  blocks 
had  worn  so  that  the  edges  of  the  finest  lines  lost  their  sharp¬ 
ness,  it  was  quite  impossible.  It  is  fairly  certain,  therefore, 
that  what  for  lack  of  a  better  phrase  we  may  designate  as 
proof  impressions  were  never  many.  Because  of  the  great 
care  that  the  best  printing  required  they  were  perhaps  fewer 
in  the  case  of  Hiroshige’s  prints  than  in  that  of  the  prints  of 
figure  subjects  by  the  earlier  Ukiyoe  masters. 

Although  he  was  primarily  a  print  designer  Hiroshige 
found  time  to  execute  a  considerable  number  of  paintings. 
These  are  highly  esteemed  by  the  Japanese  critics  who  find 
in  them  ample  warrant  for  conceding  to  Hiroshige  high  rank 
among  the  artists  of  Nippon.  It  is,  however,  upon  his  designs 
for  wood-block  prints  that  his  fame  must  finally  rest.  These 
were  among  the  first  of  the  Japanese  color  prints  to  find  favor 


8 


in  Western  eyes.  Yet  it  may  be  doubted  if  even  today  we 
have  come  to  estimate  them  at  their  true  worth  or  to  realize 
how  splendid  they  are  in  all  the  essential  qualities  that  every 
work  of  art  should  have. 

Hiroshige  died  on  the  sixth  day  of  the  ninth  month  of 
the  year  1858,  at  the  age  of  62.  On  the  title  page  of  his  last 
great  work,  the  Meisho  Yedo  Hyakkei,  the  Hundred  Yedo 
Views  (118  in  all),  issued  a  sheet  at  a  time  during  1856,  1857, 
and  1858,  the  last  appearing  about  a  month  after  the  artist’s 
death,  he  is  described  by  his  publisher  as  Issei  Itto,  “the 
greatest  of  his  age.”  In  accordance  with  Japanese  custom  he 
left  behind  a  farewell  poem : — 

Azuma  ji  ni 
Fude  wo  nokoshite 
Tabi  no  sora. 

Nishi  no  mikuni  no 
Meisho  wo  minu. 

This  has  been  rendered  into  English  by  Mr.  John  S.  Happer: 

Dropping  my  brush  at  Azuma  (the  eastern  capital,  i.  e., 
Yedo)  I  go  the  long  journey  to  the  'Western  country  (the 
Buddhist  Heaven)  to  view  the  wonderful  scenery  there. 

This  was  signed  Temmei  Rojin,  the  Buddhist  name  that 
appears  upon  Hiroshige’s  tombstone. 

FREDERICK  W.  GOOKIN. 


9 


CATALOGUE. 


ROOM  46. 


1  Evening  Cherries  at  Goten-yama.  View  overlooking 

Yedo  bay. 

Series :  Toto  Meisho.  This  print  and  the  following 
number  are  two  of  the  early  series  published  by  Ka¬ 
waguchi  Shozo. 

2  Twilight  Moon,  Ryogoku  Bridge. 

One  of  the  extremely  rare  impressions  printed  entirely  in  dif¬ 
ferent  tones  of  blue  except  the  pink  clouds. 

Series:  Toto  Meisho. 

3  Hamamatsu,  Toko.  Dreary  Weather  at  Hamamatsu. 

Series:  Tokaido  Go-ju-San  Tsugi  no  Uchi  (The  Fif¬ 
ty-three  Post  Stations  of  the  Tokaido). 

4  Shirasuka,  Shio  Mi  Zaka.  Sea  View  Hill.  A  daimyo 

cortege  passing  down  the  hill,  and  beyond,  a  wide 
sea-vista  framed  between  scrubby  pine  trees. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

5  Shono,  Haku-u.  Travellers  at  Shono  crossing  the  pass 

over  the  mountain  range  dividing  Ise  from  Omi  and 
Iga  in  a  heavy  shower. 

First  state  of  this  famous  print  which  is  one  of  the  artist’s  mas¬ 
terpieces. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 


ii 


6  Fuchu,  Abe-kawa.  Travellers  fording  the  Abe  river. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

7  Okazaki,  Tenshin  no  Hashi.  The  long  bridge  over  the 

Tenshin  river;  daimyo  cortege  crossing. 

Second  state.  In  the  first  state  the  low  blue  hill  on  the  hori¬ 
zon  does  not  appear,  and  the  tall  blue  hill  has  a  different  con¬ 
tour. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

8  Ejiri,  Miho  Embo.  Distant  view  of  Miho  beach. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

9  Kameyama,  Yuki  Hare.  The  slope  of  Mount  Kame  in 

clear  weather  after  a  snow  fall. 

One  of  the  masterpieces  for  which  this  series  is  renowned. 
Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

\ 

10  Narami,  Meibutsu  Arimatsu  Shibori.  The  shops  at  Na- 

rami  for  the  sale  of  shibori,  a  kind  of  dyed  cotton 
cloth  which  was  (and  is  still)  the  meibutsu  (famed 
product)  of  the  neighboring  village  of  Arimatsu. 
Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

11  Fukoroi,  De  Chaya.  Wayside  tea  booth,  early  morning; 

travellers  halting  for  refreshment. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

12  Asuka-yama  Shita,  Haru  no  Kei.  Spring  scene  at  the 

base  of  Asuka  hill,  the  famous  cherry-blossom-view¬ 
ing  resort. 

Series :  Panel  Toto  Meisho,  published  by  Matsu- 
barado. 


12 


13 


Shin  Yoshiwara  Emonzaka  Aki  no  Zuki.  The  Autumn 
Full  Moon  at  Emonzaka,  New  Yoshiwara,  Yedo. 
Series:  Panel  Toto  Meisho,  published  by  Matsu- 
barado. 

14  Okabe,  Utsu  no  yama.  The  road  winding  upward  be¬ 

tween  the  green  slopes  of  Utsu  Hill. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 

15  Annaka  Station  on  the  Kisokaido.  Early  spring. 

Series:  Kisokaido  Roku-ju-ku  Tsugi  no  Uchi  (The 
Sixty-nine  Post  Stations  of  the  Kisokaido). 

Two  publishers,  Takeuclii  and  Iseiri  joined  in  issuing  this  se¬ 
ries  which  consisted  of  seventy  designs,  forty-seven  by  Hiro¬ 
shige  and  twenty-three  by  Keisai  Yeisen.  Early  impressions  in 
fine  condition  are  extremely  rare. 

16  Nakakubo  Station. 

This  is  one  of  Hiroshige’s  famous  prints,  which  is 
very  rare  in  the  right  coloring  here  shown.  In  late 
impressions  the  effect  designed  by  the  artist  is  en¬ 
tirely  lost. 

Series:  Kisokaido  Roku-ju-ku  Tsugi  no  Uchi. 

17  Oi  Station.  Travellers  in  a  snowstorm. 

Series:  Kisokaido  Roku-ju-ku  Tsugi  no  Uchi. 

18  Mijranokoshi  Station:  Moonlight. 

This  print  is  justly  celebrated  as  one  of  Hiroshige’s  master¬ 
pieces. 

Series:  Kisokaido  Roku-ju-ku  Tsugi  no  Uchi. 

19  Asuka-yama,  Hanami.  Cherry  trees  in  bloom  on  Asuka 

Hill. 

Series:  Yedo  Meisho,  published  by  Sanoki. 


13 


20  Kinryusan  Temple,  Asakusa,  Yedo.  The  yearly  festival. 

Series :  Toto  Meisho,  published  by  Sanoya  Kihei, 
otherwise  known  as  Sanoki. 

21  Ikegami,  Bansho,  The  Vesper  Bell  at  Ikegami  Temple. 

Series:  Yedo  Kinko  Hakkei  (Eight  famous  Views 
of  the  Environs  of  Yedo),  published  by  Sanoki. 

The  eight  prints  forming  this  series  are  regarded  as  among 
Hiroshige’s  finest  works. 

22  Tamagawa,  Akitsuki.  The  Autumn  Full  Moon  seen 

over  over  the  Tama  River. 

Series:  Yedo  Kinko  Hakkei. 

23  Asuka-yama,  Bosetsu.  Evening  snow  on  Asuka  Hill. 

Series:  Yedo  Kinko  Hakkei. 

24  Azumashi,  Yoru  Ame.  Night  rain  at  Azumashi. 

Series:  Yedo  Kinko  Hakkei. 

25  Shibaura,  Seiran.  Clearing  Weather  at  Shibaura. 

Series:  Yedo  Kinko  Hakkei. 

26  Haneda,  Rakugan.  Geese  Flying  Down  at  Haneda. 

Series:  Yedo  Kinko  Hakkei. 

27  Ume  Yashiki.  People  viewing  the  red  and  white  blos¬ 

soms  of  the  ume  (plum)  tree. 

Series:  Panel  Toto  Meisho,  published  by  Matsu- 
barado. 

28  Kambara,  Yoru  no  Yuki.  Evening  snow  at  Kambara. 

Series:  Tokaido  Go-ju-san  Tsugi  no  Uchi. 


14 


29  Nihon  Bashi  no  Shirasame.  White  rain  at  Nippon 

Bridge. 

Series:  Toto  Meisho,  published  by  Sanoki. 

30  Kisoji  no  Yama  Kawa.  Winter  view  of  the  mountains 

and  streams  on  the  Kiso  highway.  Triptych.  Hiro¬ 
shige’s  largest  snow  scene. 

Dated  Ansei,  Snake  4  =  1857,  fourth  month. 
Published  by  Tsutaya. 

31  Goten-yama.  A  picnic  under  the  cherry  trees. 

Dated,  Second  month  Ram  year,  i.  e.,  1852. 

Series:  Panel  Yedo  Meisho. 

32  Tsukuda-jima,  Fukagawa.  Fishing  boats  at  anchor  off 

the  island  of  Tsukuda,  Fukagawa. 

Series:  Toto  Meisho,  published  by  Masugin.  Wheth¬ 
er  several  publishers  joined  in  bringing  out  the  long 
series  of  Yedo  views  designed  by  Hiroshige,  or 
whether  there  were  a  number  of  different  series  bear¬ 
ing  the  same  title  is  not  definitely  known. 

33  Uruga.  View  of  the  Harbor  on  a  Snowy  Day. 

Series:  Nihon  Minato  Tsukushi  (The  Harbors  of 
Japan),  published  by  Marusei. 

34  Meguro,  Fudo  Mo-ode.  The  Fudo  Shrine  at  Meguro. 

Series:  Yedo  Meisho,  published  by  Sanoki. 

35  Go-hyaku  Rakan  Sazaedo.  The  Hall  of  the  Five-hun¬ 

dred  Rakan. 

This  building  was  destroyed  by  fire  some  years  ago.  The  fields 
shown  in  the  print  are  now  built  over. 

Series:  Toto  Meisho,  published  by  Sanoki. 


15 


36  Arashi-yama.  Cherry  trees  in  bloom  on  the  mountain 

side  at  the  foot  of  Yoshino  rapids,  and  on  the  river 
in  the  foreground  two  men  poling  a  raft. 

Series:  Kyoto  Meisho  no  Uchi  (Famous  Kyoto 
Views),  published  by  Kawaguchi  Shozo. 

37  Shiba  Akabane  no  Yuki.  Akabane  bridge  and  the  bar¬ 

racks  at  Shiba,  Yedo,  in  snow. 

Series :  Toto  Meisho,  published  by  Sanoki. 

38  Oji  Inari  No  Yashiro.  The  Shinto  shrine  to  Inari  Sama 

(the  Fox-God,  so  called)  at  Oji. 

Series:  Yedo  Meisho,  published  by  Sanoki. 

39  The  Ume  Garden  at  Gammada. 

Dated  second  month  1857. 

Series:  Meisho  Yedo  Hyakkei  (One  hundred  views 
of  Yedo),  published  by  Uwoya  Teikichiji. 

40  Mama  no  Koyo.  Kotena  no  Yashiro,  Tsugi  hashi.  Ma¬ 

ple  leaves  at  Mama;  the  Shinto  Temple  of  Kotena, 
and  Tsugi  Bridge. 

Dated  1857,  first  month. 

Series:  Meisho  Yedo  Flyakkei. 

41  Sunamura,  Moto  Hachiman.  The  original  Hachiman 

shrine  at  Sunamura. 

Series:  Meisho  Yedo  Hyakkei. 

42  Asakusa,  Kinryusan.  The  snow  covered  buildings  of 

Kinryusan  Temple  seen  through  the  entrance  gate 
above  which  a  huge  lantern  is  suspended. 

Dated  1856,  seventh  month. 

Series:  Meisho  Yedo  Hyakkei. 


16 


43  Sumidagawa  Suishin  no  Mori.  The  temple  grove  at  Sui- 
shin  on  the  Sumida  River. 

Dated  1856,  eighth  month. 

Series:  Meisho  Yedo  Hyakkei. 


44  Minami  Shinagawa,  Sunshu  Xaigan.  Sunshu  beach, 
South  Shinagawa. 

Series  :  Meisho  Yedo  Hyakkei. 


45  Kwachu,  Shino  Nomi.  Early  morning  in  the  Yoshiwara. 
Dated  1857,  fourth  month. 

Series:  Meisho  Yedo  Hyakkei. 


46  Meguro  Taiko  Bashi,  Yuhi  no  Oka.  Taiko  Bridge  and 
Yuhi  Hill  at  Meguro  in  snow. 

Series:  Meisho  Yedo  Hyakkei. 


47  Inaba.  Kajiko-yama. 

Dated  1855. 

Series:  Roku-ju-yo  Shu  Meisho  Dzu  Kwai  (Views  in 
the  Sixty-odd  Provinces),  published  by  Heisuke  in 
the  autumn  of  1856. 


48  Oji.  Shozoku  Enoki,  Omisoka  no  Kitsune  be.  Fox-fires 
on  New  Year’s  Eve  beneath  the  Shozoku  enoki  tree 
at  Oji. 

Series:  Meisho  Yedo  Hyakkei. 


49  Senju  no  Ohashi.  The  great  bridge  at  Senju. 
Series:  Meisho  Yedo  Hyakkei. 


17 


50  Yoshiwara,  Fuji  no  Numa,  Narushima  ga  Hara.  View 

of  Fuji  swamp  and  Narushima  field  at  Yoshiwara, 
Fuji  san  in  the  distance. 

Dated  1855,  seventh  month. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye,  known  as 
the  vertical  Tokaido  set.  Published  by  Tsutaya. 

51  Odawara,  Kaigan  Ryoshi.  Fishermen’s  houses  on  the 

beach  at  Odawara. 

Dated  1855,  seventh  month. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 

52  O  Yuki  Furishikuru  Dzu.  Picture  of  a  great  snow  fall. 

Uchiwa  fan-mount,  published  by  Marusan. 

53  Kameido  Temple  Grounds  in  Snow. 

Series :  Toto  Meisho,  published  by  Sanoki. 

54  Kameido,  Tenjin  Kyodai.  Within  the  grounds  of  Tem- 

mangu  temple,  Kameido.  Wistaria  in  bloom  above 
the  drum  bridge  over  the  Shinji-no-Ike  or  “Pond  of 
the  Word  Heart,”  so  called  because  of  its  shape, 
which  resembles  the  Chinese  character  for  “heart.” 
Series:  Meisho  Yedo  Hyakkei. 

55  Fishing  boats  at  anchor  in  Yedo  bay. 

Uchiwa  fan-mount. 

56  Asakusa,  Kinryusan  Setchu.  Kinryusan  Temple,  Asa- 

kusa,  in  snow. 

Series:  Yedo  Meisho,  published  by  Sanoki. 


18 


57  Musashi,  Tama-gawa.  View  of  Fuji  from  the  Tama 

River  in  Musashi. 

Dated  1858,  fourth  month. 

Series:  Fuji  San-ju-rokkei  (Thirty-six  views  of 

Fuji),  Hiroshige’s  last  work,  completed  shortly  before 
his  death  and  published  by  Tsutaya  in  July  of  the 
next  year,  1859. 

58  Futagawa,  Saru  ga  Baba  Tachiba.  The  starting  place  of 

the  Monkey  race-track  at  Futagawa. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 

59  Asuka-yama.  View  of  Fuji  san  from  Asuka  Hill,  Yedo, 

in  the  time  of  the  cherry  blossoming. 

Series:  Fuji  San-ju-rokkei. 


60  Narami.  Meisan  Arimatsu  Shibori  Mise.  Shops  for 
the  sale  of  Arimatsu  Shibori  at  Narami.  A  different 
view  of  the  scene  depicted  in  No.  8. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 


61  Shinagawa,  Goten-yama  Yori  Ekichu  O  Miru.  The  wide 
view  over  Shinagawa  from  Goten-yama. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 


62  Minaguchi,  Meisho  Hiramatsu  Yama  no  Fumoto.  View 
of  Minaguchi,  a  famous  place  at  the  foot  of  Mount 
Hiramatsu. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 


63  Otsu,  Miidera  Kwannon  do  Yori  Otsu  no  Machi  Kosui 
Chobo.  Distant  view  of  Lake  Biwa  from  Kwannon 
Flail,  Miidera  Temple. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 


19 


64  Zoshigaya.  Fuji  seen  from  the  tea-house  called  Fuji- 

mi-chaya  at  Zoshigaya. 

Series:  Fuji  San-ju-rokkei. 

65  Fujisawa,  Miho  no  Matsubara,  Hidari  Fuji.  The  pine 

grove  at  Miho  no  Matsubara,  Fuji  at  the  left. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 


66  Miho  no  Matsubara.  View  of  Fuji  San  from  the  sea. 
Series:  Fuji  San-ju-rokkei. 


67  Meguro,  Hidari  Fuji.  View  of  Meguro,  Fuji  at  the  left. 
Dated  1857,  fourth  month. 

Series:  Meisho  Yedo  Hyakkei. 


68  Seichi  Akiwa  no  Kyodai.  View  within  the  grounds  of 
the  Seichi  Akiwa  shrine. 

Series:  Meisho  Yedo  Hyakkei. 


69  Hakone  Sanchu.  Yako  no  Dzu.  In  the  Hakone  moun¬ 
tains.  Travellers  climbing  the  pass  by  night. 
Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 


70  Awazu,  Seiran.  Clearing  Weather  at  Awazu. 

Series:  Omi  Hakkei  no  Uchi  (The  Eight  Famous 
Views  of  Omi). 


71  Karasaki,  Yoru  ame.  Night  rain  at  Karasaki  on  Lake 
Biwa.  The  famous  old  pine-tree  shown  in  the  pic¬ 
ture  is  one  of  the  most  curious  trees  in  the  world 
because  of  the  great  spread  of  its  branches. 

Series:  Omi  Hakkei  no  Uchi. 


20 


/2  Ishiyama,  Akitsuki.  The  autumn  moon  at  Ishiyama,  re¬ 
nowned  as  one  of  the  most  beautiful  sights  in  Japan. 
Series :  Omi  Hakkei  no  Uchi. 

73  Miidera,  Bansho.  The  Evening  Bell  at  Miidera  Temple 

at  Otsu  on  Lake  Biwa.  The  grave  of  the  late  Pro¬ 
fessor  Ernest  F.  Fenollosa  is  on  the  hillside  back  of 
this  temple. 

Very  rare  impression  in  different  tones  of  grey. 

Series :  Omi  Hakkei  no  Uchi. 

74  Okabe,  Katazu  no  Yama,  Tsuta  no  Hosomichi.  Mount 

Katazu  and  the  Ivy  Path  at  Okabe. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 

75  Mitsuki,  Tenryu-gawa  Funa  Watashi.  Ferry  boat  on 

the  Tenryu  River  at  Mitsuki. 

Series:  Go-ju-san  Tsugi  Meisho  Dzu  Ye. 

76  Bizen.  Tanokuchi,  Kaihin  Yukasan  Torii.  Yukasan 

Torii  on  the  beach  at  Tanokuchi,  Province  of  Bizen. 
Dated  1853. 

Series:  Roku-ju-yo  Shu  Meisho  Dzu  Kwai. 

77  Yamato.  Tateyama  Tatsuta-gawa.  The  Tatsuta  River 

at  Tateyama  in  the  Province  of  Yamato. 

Dated  1853.  . 

Series:  Roku-ju-yo  Shu  Meisho  Dzu  Kwai. 

78.  Higo.  Gosuisho.  View  of  Gosuisho  in  the  Province 
of  Higo. 

Series:  Roku-ju-yo  Shu  Meisho  Dzu  Kwai. 


21 


79  Hamamatsu.  A  storm  approaching  over  the  sea  at 

Hamamatsu. 

Series :  Tokaido.  This  series  in  which  the  hori¬ 
zontal  lines  in  the  compositions  are  emphasized  is 
known  as  the  Marusei  Tokaido  set,  from  the  name 
of  the  publisher. 

80  Scene  from  the  Eighth  Act  of  Chushingura.  Tonase, 

wife  of  Kakogawa  Honzo,  and  her  daughter  Konami, 
journeying  from  Yedo  to  Kyoto. 

Series :  Chushingura.  The  Drama  of  the  Forty- 
seven  Loyal  Ronin. 

81  Scene  from  the  Eleventh  Act  of  Chushingura.  The 

Loyal  Ronin  Embarking  on  the  Fishing  Boats  that 
conveyed  them  to  make  the  Night  attack  on  Moro- 
nao,  the  Lord  of  Musashi. 

Series :  Chushingura. 

82  Takeda  Baba.  The  Race  Course  at  Takeda. 

An  extreme  rarity. 

Series:  Surimono  Yedo  Meisho. 

83  Bakuro  cho.  Hatsune  no  Baba.  The  Hatsune  Race 

Course,  Bakuro  Street. 

Series:  Meisho  Yedo  Hyakkei. 

84  Asuka-yama  Kita  no  Chobo.  North  view  from  Asuka 

Hill. 

Series:  Meisho  Yedo  Hyakkei. 


22 


85 

86 

87 

88 

89 

90 

91 

92 

93 

94 

95 

96 

97 


ROOM  47a. 


The  Saru-Bashi  (Monkey  Bridge)  in  snow. 

A  Waterfall  in  a  narrow  gorge. 

Small  Bird  and  Poppy;  the  bird  flying  and  the  poppy 
tossing  in  a  breeze. 

White  Heron  and  Purple  Iris. 

Buncho  and  Wild  Rose. 

Yellow  Bird  and  Wistaria;  the  bird  preening  its  feathers 
while  perched  on  the  vine. 

Uso  (Bullfinch)  and  Peach;  the  bird  clinging  to  a  droop¬ 
ing  branch  in  bloom. 

Impression  in  two  tones  of  blue. 

Red  Parrot  on  a  branch  of  Kobai  (Red  Ume). 

Ducks  and  Wild  Rice. 

Yellow  Bird  and  Wistaria. 

Swallow  and  Weeping  Willow. 

Impression  in  two  tones  of  blue. 

Swallows  and  Wistaria. 

Quails  and  Poppy. 

23 


98 

99 

100 

101 

102 

103 

104 

105 

106 

107 

108 

109 

no 


Pheasant  and  Snow-laden  Bamboo. 


Owlet  and  Pine;  the  bird  on  a  bough,  blinking  and  turn- 
its  head  from  the  crescent  moon.  The  poem  that 
appears  on  the  print  has  been  translated:  “Owlets 
may  sail  in  the  boat-shaped  moon  while  their  ears 
catch  sounds  like  a  koto  tune,  played  by  the  breeze 
passing  through  the  pines.” 


White  Herons  and  Iris. 


Kingfisher  and  Iris. 

Two  Small  Birds  on  a  branch  of  a  Maple  tree  with  Au¬ 
tumn  foliage. 

Swallow  and  Wistaria. 

Mandarin  Ducks  in  Winter  swimming  beneath  drooping 
branches  of  snow-laden  Bamboo. 

Swallows  and  Wistaria. 

Impression  in  grey  and  black. 

Camellia  and  Swallows  in  Snow. 

Swallow  and  Wistaria. 

Kingfisher  and  Hydrangea. 

A  Cliff  Crowned  with  Autumn  Foliage. 

Pheasant  and  Young  Pines  on  a  Steep  Hillside. 


24 


Ill 

112 

113 

114 

115 

116 

117 

118 

119 

120 

121 

122 

123 

124 


Chrysanthemum  Flowers. 


Pheasant  on  a  Snow-laden  Pine. 

Falcon,  Pine,  and  Rising  Sun;  the  bird  just  taking  flight 
from  the  trunk  of  the  tree,  in  front  of  the  sun’s  red 
disk. 

Onaka-dori  and  Azalea. 

Buncho  and  Wistaria. 

Onaka-dori  and  Ume;  a  long-tailed  bird  perched  on  a 
branch  of  blossoming  plum,  preening  its  feathers. 

Uso  and  Camellia. 

Small  Bird  and  Kobai. 

Uso  and  Autumn  Vine. 

Asagao  (Morning  Glories). 

Bird  and  Kobai. 

Green  Bird  and  Kobai. 

White  Egret  and  Bullrushes. 

Parroquet  and  Wild  Cherry. 


25 


125  Two  Birds  and  Autumn  Maple. 

126  Swallows,  Peach  Blossoms,  and  Moon. 

127  Falcon,  Pine,  and  Autumn  Vine. 

128  Swallows  and  Poppies. 

129  Green  Bird  and  Wild  Cherry. 

130  Frogs  and  Yamabuki. 

131  Swallows  and  Nanten.  . 


132 


Buncho  and  Asagao. 


< 


* 


66q 


